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2 Burnside Art- Artists

Leonardo's Incessant Last Supper

by

Leonardo's Incessant Last Supper Cover

 

Synopses & Reviews

Publisher Comments:

andlt;Pandgt;A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's near-ruined Last Supper still offer anything new to be seen or to be said? This book is a resounding Yes to both questions. With direct perception — -and with attention paid to the work of earlier scholars and to the criticism embodied in the production of copyists over the past five hundred years — Leo Steinberg demonstrates that Leonardo's mural has been consistently oversimplified. This most thought-out picture in Western art, painted in the 1490s on the north wall of the refectory of Santa Maria delle Grazie, Milan, is a marvel of compressed meanings. Its subject is not one arrested moment, but successiveness and duration. It is not only Christ's announcement of the forthcoming betrayal, but in equal measure the institution of the Eucharist. More than the spur of the moment animates the disciples, and more than perspective determines their housing. Though Leonardo's geometry obeys all rules, it responds as well to Christ's action at center, as if in emanation from the prime mover. The picture is simultaneously narrative and sacramental. As its protagonist is two-natured, as the twofold event of this night is both human submission and divine dispensation — -so the entire picture is shown to have been conceived in duplexity: a sublime pun.Meanwhile, the unending disagreement as to what exactly is represented, what the depicted actions express, how and where this assembly is seated — -all these still-raging disputes are traced to a single mistaken assumption: that Leonardo intended throughout to be unambiguous and clear, and that any one meaning necessarily rules out every other.As Steinberg reveals an abundance of significant interrelations previously overlooked, Leonardo's masterpiece regains the freshness of its initial conception and the power to fascinate.andlt;/Pandgt;

Synopsis:

A fresh look at the multiplicity of meanings in Leonardo's Last Supper.

Synopsis:

andlt;Pandgt;A fresh look at the multiplicity of meanings in Leonardo's Last Supper.andlt;/Pandgt;

Synopsis:

A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's near-ruined Last Supper still offer anything new to be seen or to be said? This book is a resounding Yes to both questions. With direct perception — -and with attention paid to the work of earlier scholars and to the criticism embodied in the production of copyists over the past five hundred years — Leo Steinberg demonstrates that Leonardo's mural has been consistently oversimplified. This most thought-out picture in Western art, painted in the 1490s on the north wall of the refectory of Santa Maria delle Grazie, Milan, is a marvel of compressed meanings. Its subject is not one arrested moment, but successiveness and duration. It is not only Christ's announcement of the forthcoming betrayal, but in equal measure the institution of the Eucharist. More than the spur of the moment animates the disciples, and more than perspective determines their housing. Though Leonardo's geometry obeys all rules, it responds as well to Christ's action at center, as if in emanation from the prime mover. The picture is simultaneously narrative and sacramental. As its protagonist is two-natured, as the twofold event of this night is both human submission and divine dispensation — -so the entire picture is shown to have been conceived in duplexity: a sublime pun.Meanwhile, the unending disagreement as to what exactly is represented, what the depicted actions express, how and where this assembly is seated — -all these still-raging disputes are traced to a single mistaken assumption: that Leonardo intended throughout to be unambiguous and clear, and that any one meaning necessarily rules out every other.As Steinberg reveals an abundance of significant interrelations previously overlooked, Leonardo's masterpiece regains the freshness of its initial conception and the power to fascinate.

About the Author

Art historian Leo Steinberg is Benjamin Franklin Professor Emeritus at the University of Pennsylvania. His books include Other Criteria: Confrontations with Twentieth-Century Art, Michelangelo's Last Paintings, The Sexuality of Christ in Renaissance Art and in Modern Oblivion, and Encounters with Rauschenberg.

Product Details

ISBN:
9781890951184
Author:
Steinberg, Leo
Publisher:
Zone Books
Location:
Cambridge
Subject:
Religious
Subject:
Criticism
Subject:
European
Subject:
History - Renaissance
Subject:
Leonardo
Subject:
Last Supper in art.
Subject:
Criticism - General
Subject:
Subjects & Themes - Religious
Subject:
Fine Arts
Subject:
Criticism -- Theory.
Subject:
Art, Religious
Copyright:
Edition Description:
Includes bibliographical references and index.
Series:
Leonardo's Incessant Last Supper
Series Volume:
105-1001
Publication Date:
20010631
Binding:
HARDCOVER
Grade Level:
from 17
Language:
English
Illustrations:
187 illus., fold-out color insert
Pages:
312
Dimensions:
9 x 10.5 in

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Related Subjects

Arts and Entertainment » Art » Artists
Arts and Entertainment » Art » Europe General
Arts and Entertainment » Art » History and Criticism
Arts and Entertainment » Art » Religious
Arts and Entertainment » Art » Theory and Criticism
Health and Self-Help » Health and Medicine » Medical Specialties

Leonardo's Incessant Last Supper Used Hardcover
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Product details 312 pages Zone Books - English 9781890951184 Reviews:
"Synopsis" by , A fresh look at the multiplicity of meanings in Leonardo's Last Supper.
"Synopsis" by , andlt;Pandgt;A fresh look at the multiplicity of meanings in Leonardo's Last Supper.andlt;/Pandgt;
"Synopsis" by , A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's near-ruined Last Supper still offer anything new to be seen or to be said? This book is a resounding Yes to both questions. With direct perception — -and with attention paid to the work of earlier scholars and to the criticism embodied in the production of copyists over the past five hundred years — Leo Steinberg demonstrates that Leonardo's mural has been consistently oversimplified. This most thought-out picture in Western art, painted in the 1490s on the north wall of the refectory of Santa Maria delle Grazie, Milan, is a marvel of compressed meanings. Its subject is not one arrested moment, but successiveness and duration. It is not only Christ's announcement of the forthcoming betrayal, but in equal measure the institution of the Eucharist. More than the spur of the moment animates the disciples, and more than perspective determines their housing. Though Leonardo's geometry obeys all rules, it responds as well to Christ's action at center, as if in emanation from the prime mover. The picture is simultaneously narrative and sacramental. As its protagonist is two-natured, as the twofold event of this night is both human submission and divine dispensation — -so the entire picture is shown to have been conceived in duplexity: a sublime pun.Meanwhile, the unending disagreement as to what exactly is represented, what the depicted actions express, how and where this assembly is seated — -all these still-raging disputes are traced to a single mistaken assumption: that Leonardo intended throughout to be unambiguous and clear, and that any one meaning necessarily rules out every other.As Steinberg reveals an abundance of significant interrelations previously overlooked, Leonardo's masterpiece regains the freshness of its initial conception and the power to fascinate.
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